Dove Canada, longtime advocates of "real beauty," have taken their campaign against Photoshop to a whole new level of borderline hacktivism.
The whoelsome skin care company that practically raised your grandparents has sneakily rolled out a Photoshop Action (a kind of plug-in) that reverts edited images back to their original, un-airbrushed state. Dove Canada made the action available online through various channels (like Reddit) and while the downloadable file promised to beautify images by adding "a fake skin glow" with a single click, in reality it reverted the photo back to its original state, while adding a banner that says: "Don’t manipulate our perceptions of Real Beauty." Here's a screenshot of the original post, as it first appeared on Reddit and caught by Twirlit.com:
The false claim to "give skin a beautiful glow while hiding all the imperfections" basically makes this plug-in malware no? In a statement and video explaining the action (which you can view below), Dove Canada says the goal of the Photoshop file was to target art directors, graphic designers and photo retouchers — that is, those responsible for manipulating images — in an effort to "put a stop to the negative beauty messages we send and receive every day via our social networks."
For the past decade, the company has been fighting against the media’s unrealistic and overly idealized portrayals of women with their "Campaign for Real Beauty," a crusade first conceived by the Toronto branch of Ogilvy & Mather. As part of its latest stunt, Dove and Ogilvy is also launching a larger social campaign called #DovePositiveChange, which includes a new Facebook app called "Ad Makeover" allowing Canadian women to replace negative ads on the social networking site with "words of affirmation." This from the same company (Unilever) that sells Ax body spray, the manly-man scent that attracts all those super hot femmebots in its commercials.
Sure, the Photoshop plug-in is a throwaway stunt, but maybe Dove should begin practicing what it preaches before doling out "words of affirmation."
I'm sorry, were you under the impression that you could get out of this post without watching a Tina Turner music video? Here's "What's Love Got To Do With It," which was filmed in 1984. The orange lipstick (and really, the whole beauty look, even including that intense spiky bleached pseudo-mohawk) became an iconic Tina thing, and you can see for yourself how it's referenced in the cover above.
Please: more talented, smiling, non-white, non-teenagers looking phenomenal on the covers of fashion magazines!
It's snowing big wet snowflakes in New York City, but the worst of winter is probably behind us. Even though it's cold and wet, at least it's March. It can't be February again for a whole year, knock on wood. Over the coming weeks, spring's gonna come creeping and Elle France is all over it. Featuring Hungarian model Eniko Mihalik sunning herself on the kind of blue-watered beach I can only dream of dreaming about in my dreams, the glossy's March 2013 cover is almost excessively summery: there's a giant turquoise statement necklace, sparkling sapphire eyes, wind-blown salty waves and sun-soaked bronzed skin. Is your imagination sipping a mai tai yet?
Elle France was working so hard to produce the ultimate representation of the perfect summer, they forgot to dress the model in clothes. So many details to remember when you're running a fashion magazine! No matter, they just ran the picture as is (they were like, "After all, ve are French, topless beaches and provocative nudity are our thing!") but airbrushed out Eniko's nipple. They superimposed her now-alien body part with text that hilariously reads, "Summer body right away!" Yes, I've heard about the wonders of Photoshop but never thought I could wear it to the beach.
On another part of the cover, the glossy included some tiny font which identifies Eniko by name and adds these descriptors: "sublime" and "natural." Which would be true, Elle France, if you hadn't airbrushed off her nipple! Nipple nipple nipple. If you're gonna run a photo of a topless woman on the cover of your publication, have the chutzpah to show her nipple. Otherwise, go find a bikini top.
There’s no better feeling than buying a new pair of skyscraping heels and then dancing the night away in them. Well, that’s until you've been dancing for just that little bit too long and you feel like your feet have been set on fire. We've all been there! Even worse than that is the dreaded walk home, when you physically can’t walk in your shoes any more. So, what’s better than stupidly deciding to walk the pavements barefoot? Foldable ballerinas, of course!
The foldable ballerina is far from being a new concept to anybody these days, as they've been around for quite some time, but we've just so happened to stumble upon a particularly great stockist that we had to share with you, the British company, Butterfly Twists.
Not only do they stock the typical formal black ballerina that could easily be put on at the end of the night as to match most outfits but they also offer cool seasonal collections too. For S/S 13 they’re set to launch in on trend neons, pastels and prints with prices ranging between £19.99 and £24.99. Or, if you’re after something a bit more quirky, try on their British flag Jacqui flats, £30 for size.
Butterfly Twists even has your summer holidays covered with their foldable flip flops for around £15. Or, if you’re anything like us, your summer walks in the park when you've decided to wear your new pair of wedges, and then halfway around you've realised that you really can’t walk in them. The perfect situation for a pair of foldable flip flops, wouldn't you agree?
Each pair folds up to fit into the smallest of handbags, and believe us you’ll be eternally grateful to rest those dancing feet in something comfortable come the end of your night on the tiles!
Ever since Hedi Slimane strolled into the head designership at Yves Saint Laurent and announced his intention to rebrand the legendary French fashion house and move it to (of all places!) Los Angeles, the former Dior Homme designer's every move at the company has rankled.
At Dior Homme, Slimane basically single-handedly popularized the now-ubiquitous skinny jean-clad shrunken-chested white hipster boy. People still talk rapturously about his tenure at the menswear brand, but the designer entered his job at YSL after spending years on hiatus as a sometimes-photographer. In recent years, Slimane seemed less like a genius, more like a once-brilliant, now-retired eccentric.
YSL was Slimane's womenswear debut. As far as the world was concerned, the designer had something to prove, but the designer conducted himself carelessly. He announced the Saint Laurent name change and studio relocation to L.A. within just a couple weeks after the annoucement of his new position. It seemed arrogant.
Slimane's first womenswear collections have been odd, but not awful on the level of Lindsay Lohan for Ungaro. The styling, art direction and initial concepts have all been off-key, but the clothing itself is fine. It's fine. Slimane's terrible behavior is what makes people predisposed to be critical, to seek out all the flaws instead of trying to see the best in his collections.
The designer takes every chance he has to be a smug childish jerk. Last season, he piled on Oscar de la Renta's poorly percieved attack on fashion critic Cathy Horyn after the longtime New York Times writer panned the way Slimane was conducting public relations at Saint Laurent (Horyn hadn't been invited to his debut show). The designer responded by attacking Horyn's "sense of style" and saying she would never get a seat at his shows, but "might get 2 for 1 atDior."
Saint Laurent didn't extend an invitation to Horyn this season, but the critic did what she was always does when designers try to silence her — used it as column fodder.
One of the first things the new designer, Hedi Slimane, did was to remove “Yves” from the label, thereby severing a symbolic connection to the founder, and everything he stood for, like good taste and feminine power. But it was also a test of the label’s enduring appeal.
Mr. Slimane has been the talk of Paris Fashion Week, or at least the closing days, largely because he showed a grunge collection of baby-doll dresses and flannel shirts, which I viewed online because I was not invited to the show. Opinion varied widely.
In terms of design, the clothes held considerably less value than a box of Saint Laurent labels. Without the label attached to them, Mr. Slimane’s grunge dresses wouldn’t attract interest — because they’re not special. But a box of labels is worth a million.
Hey Hedi, let's chat: Blocking the widely read New York Times critic from your shows sends the message that you can't handle criticism. Please just invite her next time. It's not that hard. If you want to be a jerk about it, assign her a seat in the second row, whatever. She might not like your designs, but she'll respect you and the broader fashion community will respect you. And then everyone will be less picky, more willing to consider the merits of your work.